Affordances for learning in a non-linear narrative medium

A multimedia CD makes an impressive resource for the scholar-researcher, but students unfamiliar with the subject-matter may not always work so effectively with such a resource. Without any narrative structure, how does the novice cope? The paper describes how we are investigating the design features that 'afford' activities that generate learning: What are the design features that encourage students to practise the role of the scholar? What encourages them to explore, but also to reflect on their analysis of the data they find? What kind of learning takes place when students are allowed to explore at will? The paper goes on to compare the learning experiences of students using commercial CDs with those using material with contrasting designs, in an attempt to identify the design features that afford constructive learning activities. It concludes with an interpretation of the findings, comparing them with work in related educational media, and situating the findings in the context of a conversational framework for learning

Language and identity in multimodal text: case study of Tailand´s Bank Pamphlet

With the main objective of presenting a linguistic model for the analysis of identity construction in multimodal texts, particularly in advertising, this article attempts to integrate three theoretical frameworks, namely the types of discourse of the Socio-Discursive Interactionism, Greimas’ actantial roles and the symbolic processes of the Grammar of Visual Design proposed by Kress & van Leeuwen. The first two theories are used to analyze verbal language form whereas the third is exclusively for images in advertising. The data sample is a Thai bank pamphlet of Siam Commercial Bank, collected in Bangkok, Thailand, in June, 2015. According to the data analysis, the theoretical frameworks employed here proves that identity, the psychological product, exists in the human mind and can be indexed by language in interaction. Also, the analysis found that identity could be projected as multimodally as language manifestation, of which forms are not only verbal but also pictorial.info:eu-repo/semantics/publishedVersio

Coherence compilation: applying AIED techniques to the reuse of educational resources

The HomeWork project is building an exemplar system to provide individualised experiences for individual and groups of children aged 6-7 years, their parents, teachers and classmates at school. It employs an existing set of broadcast video media and associated resources that tackle both numeracy and literacy at Key Stage 1. The system employs a learner model and a pedagogical model to identify what resource is best used with an individual child or group of children collaboratively at a particular learning point and at a particular location. The Coherence Compiler is that component of the system which is designed to impose an overall narrative coherence on the materials that any particular child is exposed to. This paper presents a high level vision of the design of the Coherence Compiler and sets its design within the overall framework of the HomeWork project and its learner and pedagogical models

Scoping a vision for formative e-assessment: a project report for JISC

Assessment is an integral part of teaching and learning. If the relationship between teaching and learning were causal, i. e. if students always mastered the intended learning outcomes of a particular sequence of instruction, assessment would be superfluous. Experience and research suggest this is not the case: what is learnt can often be quite different from what is taught. Formative assessment is motivated by a concern with the elicitation of relevant information about student understanding and / or achievement, its interpretation and an exploration of how it can lead to actions that result in better learning. In the context of a policy drive towards technology-enhanced approaches to teaching and learning, the question of the role of digital technologies is key and it is the latter on which this project particularly focuses. The project and its deliverables have been informed by recent and relevant literature, in particular recent work by Black andIn this work, they put forward a framework which suggests that assessment for learning their term for formative assessment can be conceptualised as consisting of a number of aspects and five keystrategies. The key aspects revolve around the where the learner is going, where the learner is right now and how she can get there and examines the role played by the teacher, peers and the learner. Language: English Keywords: assessments, case studies, design patterns, e-assessmen

A Typographic Dilemma: Reconciling the old with the new using a new cross-disciplinary typographic framework

Current theory and vocabulary used to describe typographic practice and scholarship are based on a historically print-derived framework. As yet, no new paradigm has emerged to address the divergent path that screen-based typography is taking from its traditional print medium. Screen-based typography is becoming as common and widely used as its print counterpart. It is now timely to re-evaluate current typographic references and practices under these environments, which introduces a new visual language and form. This paper will attempt to present an alternate typographic framework to address these growing changes by appropriating concepts and knowledge from different disciplines. This alternate typographic framework has been informed through a study conducted as part of a research Doctorate in the School of Design at Northumbria University, UK. This paper posits that the current typographic framework derived from the print medium is no longer sufficient to address the growing differences between the print and screen media. In its place, an alternate cross-disciplinary typographic framework should be adopted for the successful integration and application of typography in screen-based interactive media. The development of this framework will focus mainly on three key characteristics of screen-based interactive media ¬¬– hypertext, interactivity and time-based motion – and will draw influences from disciplines such as film, computer gaming, interactive digital arts and hypertext fictions

Player agency in interactive narrative: audience, actor & author

The question motivating this review paper is, how can computer-based interactive narrative be used as a constructivist learn- ing activity? The paper proposes that player agency can be used to link interactive narrative to learner agency in constructivist theory, and to classify approaches to interactive narrative. The traditional question driving research in interactive narrative is, ‘how can an in- teractive narrative deal with a high degree of player agency, while maintaining a coherent and well-formed narrative?’ This question derives from an Aristotelian approach to interactive narrative that, as the question shows, is inherently antagonistic to player agency. Within this approach, player agency must be restricted and manip- ulated to maintain the narrative. Two alternative approaches based on Brecht’s Epic Theatre and Boal’s Theatre of the Oppressed are reviewed. If a Boalian approach to interactive narrative is taken the conflict between narrative and player agency dissolves. The question that emerges from this approach is quite different from the traditional question above, and presents a more useful approach to applying in- teractive narrative as a constructivist learning activity

Software agents in music and sound art research/creative work: Current state and a possible direction

Composers, musicians and computer scientists have begun to use software-based agents to create music and sound art in both linear and non-linear (non-predetermined form and/or content) idioms, with some robust approaches now drawing on various disciplines. This paper surveys recent work: agent technology is first introduced, a theoretical framework for its use in creating music/sound art works put forward, and an overview of common approaches then given. Identifying areas of neglect in recent research, a possible direction for further work is then briefly explored. Finally, a vision for a new hybrid model that integrates non-linear, generative, conversational and affective perspectives on interactivity is proposed

The Virtual Storyteller: story generation by simulation

The Virtual Storyteller is a multi-agent framework that generates stories based on a concept called emergent narrative. In this paper, we describe the motivation and approach of the Virtual Storyteller, and give an overview of the computational processes involved in the story generation process. We also discuss some of the challenges posed by our chosen approach

Spectators’ aesthetic experiences of sound and movement in dance performance

In this paper we present a study of spectators’ aesthetic experiences of sound and movement in live dance performance. A multidisciplinary team comprising a choreographer, neuroscientists and qualitative researchers investigated the effects of different sound scores on dance spectators. What would be the impact of auditory stimulation on kinesthetic experience and/or aesthetic appreciation of the dance? What would be the effect of removing music altogether, so that spectators watched dance while hearing only the performers’ breathing and footfalls? We investigated audience experience through qualitative research, using post-performance focus groups, while a separately conducted functional brain imaging (fMRI) study measured the synchrony in brain activity across spectators when they watched dance with sound or breathing only. When audiences watched dance accompanied by music the fMRI data revealed evidence of greater intersubject synchronisation in a brain region consistent with complex auditory processing. The audience research found that some spectators derived pleasure from finding convergences between two complex stimuli (dance and music). The removal of music and the resulting audibility of the performers’ breathing had a significant impact on spectators’ aesthetic experience. The fMRI analysis showed increased synchronisation among observers, suggesting greater influence of the body when interpreting the dance stimuli. The audience research found evidence of similar corporeally focused experience. The paper discusses possible connections between the findings of our different approaches, and considers the implications of this study for interdisciplinary research collaborations between arts and sciences